#Dylar

[gregor-samsung]

“ Una volta Murray mi aveva detto di avere un'infatuazione per lei: la sua goffaggine fisica secondo lui rappresentava il segno di un intelligenza in sviluppo quasi troppo rapido. Credevo di capire che cosa intendesse: Winnie procedeva a gomitate e strattoni nel mondo circostante, a volte superandolo. - Non so che rapporto personale tu abbia con quella sostanza, - disse, - ma credo che sia un errore perdere il senso della morte, persino la paura. La morte non costituisce proprio il limite di cui abbiamo bisogno? Non ti sembra che dia una consistenza preziosa alla vita, un senso di chiarezza? Bisogna chiedere a se stessi se tutto ciò che si fa in questa vita avrebbe le stesse caratteristiche di bellezza e significanza senza la consapevolezza che si tende a una linea finale, a un confine, a un limite. Guardai la luce inerpicarsi nelle arrotondate sommità delle nuvole di alta quota. Chloralit, Velamint, Freedent. - La gente pensa che io sia stramba, - continuò. - E certamente ho una teoria stramba circa la paura umana. Immagina te stesso, Jack, uomo tutto casa e famiglia, persona sedentaria, che si trova improvvisamente a camminare nel folto di una foresta. Con la coda dell'occhio cogli qualcosa. Prima di avere ulteriori informazioni, sai che si tratta di qualcosa di molto grosso, che non trova posto nel tuo normale schema di riferimento. Un difetto nel quadro del mondo. Uno di voi due non dovrebbe essere lì. Poi la suddetta cosa diventa pienamente visibile. È un grizzly, enorme, di un bruno lucente, barcolla, cola bava dalle zanne scoperte. Tu, Jack non hai mai visto un animale grosso nella foresta. La visione di questo grizzly ti risulta così elettrizzantemente strana da darti un senso rinnovato di te stesso, un nuova consapevolezza dell'io nei termini di una situazione unica e orripilante. Vedi te stesso in un modo nuovo e intenso. Ti riscopri. Ti vedi in piena luce nell'imminenza di venire smembrato. La belva, retta sulle zampe posteriori, ti ha reso capace di vedere come sei veramente come per la prima volta, fuori dall'ambiente famigliare, solo, separato, integro. La definizione che diamo di questo complesso procedimento è: paura. - La paura è autocoscienza portata a un livello più elevato. - Esatto, Jack. - E la morte? - chiesi. - L'io, l'io, l'io. Se la morte potesse essere vista come un fatto meno strano e privo di riferimenti, il tuo senso dell'io in rapporto con essa diminuirebbe, e con esso anche la paura. “

Don DeLillo, Rumore bianco, traduzione di Mario Biondi, Einaudi (collana ET Scrittori), 2023²⁰; pp. 272-273.

[Edizione originale: White Noise, Viking Press, NYC, 1985]

[tinyreviews]

There is a ton of witty lines and social commentary in this one. And Adam Driver’s performance is outstanding. But that’s all there is to it.

White Noise is a 2022 absurdist comedy-drama film written for the screen and directed by Noah Baumbach, adapted from the 1985 novel of the same name by Don DeLillo. It is Baumbach's first directed feature not to be based on an original story of his own. The film stars Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy, Sam Nivola, and May Nivola. 

[grandhotelabyss]

What novels/writers have made you laugh the most? I agree that Ulysses can be very funny. My personal list is a rather eclectic one: Sam Lipsyte, Joseph Heller, Thomas Bernhard, Amis père et fils and Evelyn Waugh. And there's an absurdist humor in Kafka's The Trial and The Castle that sometimes makes me chuckle.

I like arch dialogue, verbal wit, more than slapstick hijinks. Austen and Wilde among the classics, along with Joyce. I agree with you about Kafka's humor, too, in which strangeness, pathos, and hilarity are somehow all present, even sometimes in the very situations (e.g., the ape addressing the academy).

I maintain that White Noise is the funniest novel I've ever read, in a way only half captured by the movie. Some samples. First, a bit of classic DeLillo non-dialogic dialogue:

"What do you know about Dylar?"

"Is that the black girl who's staying with the Stovers?"

"That's Dakar," Steffie said.

"Dakar isn't her name, it's where she's from," Denise said. "It's a country on the ivory coast of Africa."

"The capital is Lagos," Babette said. "I know that because of a surfer movie I saw once where they travel all over the world."

"The Perfect Wave" Heinrich said. "I saw it on TV."

"But what's the girl's name?" Steffie said.

"I don't know," Babette said, "but the movie wasn't called The Perfect Wave. The perfect wave is what they were looking for."

"They go to Hawaii," Denise told Steffie, "and wait for these tidal waves to come from Japan. They're called origamis."

"And the movie was called The Long Hot Summer," her mother said.

"The Long Hot Summer," Heinrich said, "happens to be a play by Tennessee Ernie Williams."

"It doesn't matter," Babette said, "because you can't copyright titles anyway."

"If she's an African," Steffie said, "I wonder if she ever rode a camel."

"Try an Audi Turbo."

"Try a Toyota Supra."

"What is it camels store in their humps?" Babette said. "Food or water? I could never get that straight."

"There are one-hump camels and two-hump camels," Heinrich told her. "So it depends which kind you're talking about."

"Are you telling me a two-hump camel stores food in one hump and water in the other?"

"The important thing about camels," he said, "is that camel meat is considered a delicacy."

"I thought that was alligator meat," Denise said.

"Who introduced the camel to America?" Babette said. "They had them out west for a while to carry supplies to coolies who were building the great railroads that met at Ogden, Utah. I remember my history exams."

"Are you sure you're not talking about llamas?" Heinrich said.

"The llama stayed in Peru," Denise said. "Peru has the llama, the vicuña and one other animal. Bolivia has tin. Chile has copper and iron."

"I'll give anyone in this car five dollars," Heinrich said, "if they can name the population of Bolivia."

"Bolivians," my daughter said.

The family is the cradle of the world's misinformation.

Next, Jack hears of a near air disaster involving his oldest daughter:

The plane had lost power in all three engines, dropped from thirty-four thousand feet to twelve thousand feet. Something like four miles. When the steep glide began, people rose, fell, collided, swam in their seats. Then the serious screaming and moaning began. Almost immediately a voice from the flight deck was heard on the intercom: "We're falling out of the sky! We're going down! We're a silver gleaming death machine!" This outburst struck the passengers as an all but total breakdown of authority, competence and command presence and it brought on a round of fresh and desperate wailing.

Finally, Jack's cowboyish father-in-law makes a speech about his failing health and insalubrious lifestyle:

"Don't worry about me," he said. "The little limp means nothing. People my age limp. A limp is a natural thing at a certain age. Forget the cough. It's healthy to cough. You move the stuff around. The stuff can't harm you as long as it doesn't settle in one spot and stay there for years. So the cough's all right. So is the insomnia. The insomnia's all right. What do I gain by sleeping? You reach an age when every minute of sleep is one less minute to do useful things. To cough or limp. Never mind the women. The women are all right. We rent a cassette and have some sex. It pumps blood to the heart. Forget the cigarettes. I like to tell myself I'm getting away with something. Let the Mormons quit smoking. They'll die of something just as bad. The money's no problem. I'm all set incomewise. Zero pensions, zero savings, zero stocks and bonds. So you don't have to worry about that. That's all taken care of. Never mind the teeth. The teeth are all right. The looser they are, the more you can wobble them with your tongue. It gives the tongue something to do. Don't worry about the shakes. Everybody gets the shakes now and then. It's only the left hand anyway. The way to enjoy the shakes is pretend it's somebody else's hand. Never mind the sudden and unexplained weight loss. There's no point eating what you can't see. Don't worry about the eyes. The eyes can't get any worse than they are now. Forget the mind completely. The mind goes before the body. That's the way it's supposed to be. So don't worry about the mind. The mind is all right. Worry about the car. The steering's all awry. The brakes were recalled three times. The hood shoots up on pothole terrain."

[sloshed-cinema]

White Noise (2022)

Don DeLillo has a very specific sort of prose style.  His pattern of dialogue, the way he notices or draws attention to details, builds a singular vision of the world equally informed by cynicism and detachment.  Just reading the opening paragraph of White Noise gives a sense of American post-relevance.  An anonymous and identical parade of cars moving past hellish industrial “artwork.”  This is a 1980s of prosperity and cultural decay, of arrogance and paranoia.  Noah Baumbach took a big risk in adapting this, and managed to thread the needle. It’s densely textured and insane, torqued precisely just beyond the point of reasonableness for every situation.  We seek oblivion, through Dylar or a bullet, and long for mere existence in the blandest sense possible.  Life is best lived when guiding geriatric people through calisthenics or lecturing on German fascists, the same old same old. Yet existence has a way of throwing curveballs at intervals.  A boozing truck driver crashes into a train transporting Nyodene-D and suddenly a community of academics accustomed to watching disaster on the television but never experiencing it themselves have to relocate, clustered on the freeway and offered little guidance by an inept government.  Or perhaps the government are complicit, reckon some. Through this wild night Jack Gladney begins to experience what most would call a midlife crisis, but what he knows to be a radical fear of death.  This is life writ operatic, tensions and emotions cranked past the dial’s natural endpoint, and yet oddly muted at other points. Perhaps we all just need a German nun to smack some sense into us, put things into perspective vis à vis existence.

It’s rare that a film includes a litmus test for itself.  White Noise is without a doubt a film people will either embrace or cast aside, and the dueling monologues regarding Hitler and Elvis capture the essential spirit of the film.  The very concept of teaching ‘Advanced Nazism’ is just deeply hilarious and troubling and therefore even more funny.  But when Adam Driver as Jack Gladney goes full Kylo Ren, intoning about Hitler’s mommy issues while contorting his body into a human swastika while Don Cheadle’s fellow academic preaches about Elvis in the same light cuts American pop culture to the bone.  We all have our idols.  Some just want to exact a final solution.  This academic pageantry is juxtaposed against an existential crisis in the impending disaster of the Airborne Toxic Event, prolonged to an almost comical extent.  We can prattle on forever, but death is nigh.  

The LCD Soundsystem musical finale was a brilliant sendoff to this singular work, a celebration of the casual excess of this Food Market.  

THE RULES

PICK ONE

Select either HITLER or ELVIS and sip whenever that historical figure is mentioned.

SIP

Someone says ‘forget’ or ‘Dylar’.

Jack adjusts his glasses.

Archival footage.

BIG DRINK

A chapter title appears onscreen.

Characters start watching TV.

[agentnico]

White Noise (2022) Review

Last time Noah Baumbach made a movie about family we got Marriage Story, and we all remember how depressing that turned out. Alright then, I’m ready to be depressed again - bring it on Baumbach!

Plot: Dramatizes a contemporary American family's attempts to deal with the mundane conflicts of everyday life while grappling with the universal mysteries of love, death, and the possibility of happiness in an uncertain world.

One of the final film releases of 2022, which by the way how crazy is it that we’ve come to the end of this year? Time has just flown by! So fast! Gonna blink again and it’ll be the end of 2023! At this rate time will fly so fast I’m gonna reach my death bed real soon! Speaking of death, I’m going to smooth transition to the topic of this review - White Noise. The central theme of this movie is about the fear of death, as the central characters are all leading mundane lives, trying to avoid or repress their anxiety for their unavoidable demise. Yep, this is a very different type of marriage story, one that is much more weirder and peculiar. It’s based on a novel by a chap named Don DeLillo, and this book of his was classed as one that is unfilmable due to it’s postmodern themes on consumerism and dystopian impulses. However look, there have been many times a novel was thought to not be adaptable to screen, but then you get the right director for the job and you end up with not flawless but yet interesting results. Paul Thomas Anderson took on Inherent Vice (an adaptation of Thomas Pynchon’s novel) and managed to turn the nonsensical mystery by-product of smoking too much weed into a fun light-hearted comedy romp that, though at times confusing, was still really digestible to the casual moviegoer. Then another example could be Richard Linklater’s A Scanner Darkly (an adaptation of Philip K .Dick’s source material) where he used interpolated rotoscoping as a technique to visualise the weirdness of that tale to I would personally say very successful results. So with White Noise we have Noah Baumbach taking a crack at using his directing style to see if it matches the notions of DeLillo’s thoughts and themes. The result?

White Noise is not for everyone. In fact I expect many viewers will be put off by the very absurdist nature of this film. From first glace it may feels senseless and messy and even boring to some. However there is enjoyment to be had here. Mostly in the interactions between the main family. I enjoyed the way Baumbach treats dialogue in this film, by having characters speak over each other which at first may seem messy, but in reality felt realistic to the dynamics of a real life family. But that is also counteracted with at times this dialogue also sounding pretentious, especially when individuals begin to speak about their inner thoughts, it really felt unrealistic. So you get the best and and worst of both worlds when it comes to the script. As for the story, well there isn’t really one. There are little narrative thread lines such as the airborne catastrophic toxic event or the mentally degrading mystery drug named Dylar, but they all only exist to bring home the central theme of challenging death, because Baumbach really has this serious impression that we all are going to die one day. Pfft, what a tosser! 

Anyway, this movie is pretty weird. Lots of random stuff happens, there’s an evident surrealist absurdity to the procedures, yet I’m sure ever peculiar occurrence serves a purpose, even if it may be hard to decipher. For example, Adam Driver’s character is a professor who teaches Hitler Studies at his college. That’s right, THE Hitler, and his entire course is to analyse and peel back the layers of the tyrant. At first it seems like a random ongoing gag, but if you connect it to the central theme then you can understand that Driver’s character’s obsession with this historical figure again comes down to death, and how Hitler managed to in a way beat death by having his name be remembered for ages to come. So that really is all this film ever builds to - how individuals deal with the idea of their own demise and what coping mechanisms they use to repress their feelings of fear and powerlessness over this unavoidable human factor.

White Noise is an interesting watch. It’s not a necessarily spectacular viewing experience, but I imagine this is the type of movie that is destined to be analysed and looked over many times by cinema scholars and students, from its central deconstruction of the human mind to our consumerism of brands, as well as the technical visual aspect with the use of 80s grading. There are moments of humour, moments of drama, an abundance of absurdism and even a little amount of tension, especially an eerie scene at a gas station that gives off strong science fiction horror vibes. Again, not a movie for a everyone, but I’m glad I gave this one a shot.

Overall score: 7/10

[allyear-lff]

White noise

Summary: a family faces a series of crisis related to an all encompassing accident and to an all encompassing drug. And goodness knows what else. And everybody dances in a supermarket at the end.

Plot and musings: I am still scratching my head about this film, it is a weird mixture between comedy, family drama, science fiction, a bit of road movie in the most absurdist tradition, a bit of monster movie with a further seasoning of War of the Worlds reminiscences. This clearly is an ambitious film but it is like trying to tame 3 wild horses at the same time: very spectacular, highly amusing but probably confusing to the uninitiated an ultimately bound to end in a big mess.

The film is divided in several parts, the first one "Waves and radiation", introduces us to all the main characters, In my notes I have a comment that says "in defense of the car crash in US cinema", I had forgotten what this was al about, but my memory was jogged by the note, now I remember that it was a ludicrous lecture about above said topic by one colleague of Adam Driver's character, Jack, he is a Nazi studies teacher that doesn't speak German (ha,ha,ha), husband, father of 4, leading a gently chaotic family life, all seems to be fine with them except that the older daughter says that her mum has been forgetting things.

The second is titled "The airborne Toxic Event" and it is what it says in the tin, this really made my head on, so there is an accident in which apparently some toxic material is released, but we really never know exactly what the problem is, nevertheless we see the evacuation, traffic jam, chaos, the full War of The Worlds enchilada, as it would be expected the toxic cloud becomes more menacing (which I think we don't see, but don't quote me) and we get even more derivative with everybody running in panic a la Independence Day.

Then things get weirder, Jack has been having nightmares earlier in the film, and then one man that has been on them show up while they are taking refuge in a camp and hands him a bunny. (?!)

Jack drags the family behind the man but they get trapped in a river, his oldest son saves the day but they get trapped in a building. Misinformation, rumours, disinformation there. Man goes crazy. Me too,

Part 3 is called "Daylarama" , this doesn't make much sense at first although Dylar I think was mentioned in passing earlier, but now it gets centre stage.

The family is back home (was the 2nd part of the film a dream?) but life is now horribly depressive, although things seems to be "back to normal", a big difference is that Jack's wife, Sarah, is really acting strange as the older daughter, Denise, mentioned earlier.

Denise has not remained idle, she found Dylar hidden in the house, she asked the pharmacist about it but he has never heard of it, Jack gets involved and calls their doctor but he doesn't know about it, then Jack decides to confront Sarah and she comes clean, she has been participating in a research program about the drug and the drug is so good that she has been doing what was necessary to get the pills, her ailment is not an unusual one, fear of death, what is unusual is how effective the pill seems to be.

At this point there is a scene in which Jack is dying. No wait, he's dreaming, a nightmare, he isn't dying but now he fears death, he wants the medicine, he begins to check in the house but Denise was so worried about Sarah that decided to get rid of it, but on the insistence of Jack she tries to recover it without success.

Somehow Jack finds an add about curing the fear of death, he figures out this is the man that has been taking advantage of Sarah to give her the drug, he makes an appointment with him, but only after giving a conference in German (is he dreaming again?).

Jack goes to the motel where the man is staying, he has a gun with him, this is the final showdown.

Then after the situation resolves itself we have the most bizarre credits I have seen for a while, it is a full musical with people dancing joyously in a supermarket. Funny. And confusing.

This a completely bonkers film, I have no doubts I got several things wrong, I may even rewatch it. Enjoy if you do.

Rating: 3.5/5

69 of 168

Date: 3 December 2022

Venue: Cine Lumiere

The list of films in the LFF 2022

[mamaflorblog]

Dylar ediciones material educativo didáctico Hoy en este post del Blog de Mamá vamos... mamaflorblog

[lamilanomagazine]

White Noise (2022) – la recensione

White Noise (2022) – la recensione White Noise è un film diretto da Noah Baumbach, con cui ha aperto il Festival del Cinema di Venezia ’79 e disponibile su Netflix dal 30 dicembre. Il lungometraggio rappresenta la perfetta trasposizione del romanzo omonimo del 1985 firmato da Don DeLillo. Sinossi ed il concetto del “rumore bianco” La storia è ambientata nel Midwest e vede come protagonista una famiglia borghese, il capo famiglia Jack Gladney (Adam River), professore universitario, la moglie Babette Gladney (Greta Gerwig), insegnante di ginnastica posturale con frequenti vuoti di memoria, causati da una pillola misteriosa, la Dylar, e i quattro figli, che l’uomo ha concepito insieme a donne diverse. Il fil rouge dell’intera trama sarà, per l’appunto, il rumore bianco, che avvolgerà le loro esistenze. Il film è suddiviso in capitoli; tre esattamente, che si districano tra flaconi di farmaci, supermercati, stanze di hotel e suore che non credono nel paradiso. Una trama sensazionale, in grado di regalare al grande pubblico, momenti di pura azione, di amore e isteria di massa. Un film pazzo, permeato sull’ossessione e la paura di morire, che è ancor più spaventosa della morte stessa. Un corollario di immagini sensoriali, che riconducono tutte, al significato virtuoso e filosofico della “fine” del vivere. Il topic della morte, insieme al suo presagio, si radicano profondamente nelle catastrofi esistenziali, familiari, umane, che superano di gran lunga quelle mondiali ed ambientali. Scene pittoresche, di supermercati coloratissimi, le quali non hanno nulla da invidiare alla fotografia di un film di Wes Anderson, e che delineano una sorta di dimensione psichedelica, come una porta temporale, tra la realtà vissuta e la paura di morire. Ed ancora, il significato del famigerato “rumore bianco”, che dovrebbe rilassare, e che invece, nella visione del regista, risulta essere come un brusio indistinto, e che trattiene a stento l’inquietudine di un’apocalisse incombente.   Nel cast: Adam Driver (Jack Gladney), Greta Gerwig (Babette), Don Cheadle (Murray Siskind), Raffey Cassidy (Denise), Sam Nivola (Heinrich). White Noise, dal 30 dicembre su Netflix.    ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[marlinspirkhall]

The Photoshop on this is unsettlingly good

@positronically and I decided Dukat reminded us of Gob from Arrested Development

Bonus:

[marcosclopezblog]

Plague knight

[taybrando]

Drew this a while ago. Probably inspired because of how often it rains here right now lol

[colonycorps]

Empty Slims pills into the bag, use the empty pill bottle to store some of that alien goo.

Good thing Slim entrusted you with his pills for safe keeping. You pour them loosely into your own backpack. You’ll have to ask him what Dylar is for anyways. You aren’t sure you remember. Like, is it anxiolytic, analgesic, or a stimulant? 

Kinda cool you know these medical terms. Wonder if medicine was your job. Either way, one pill bottle of mystery goo; GET.

[shane613]

StarCraft planet map, 2001, Adobe Photoshop

[itsmeadrianleung]

Dylar Sar added to their story https://www.instagram.com/p/CVIHG4AvForsQtJtAOJzuThE2p7jQIOfKNFUys0/?utm_medium=tumblr

[sistemabibliotecariomilano]

Libri stupefacenti

Una pillola ti rende più grande, una pillola ti fa più piccola, e quella che ti ha dato tua madre non fa assolutamente nulla, va, chiedi ad Alice…

Cantava Grace Slick dei Jefferson Airplane in White Rabbit (Surrealist Pillow, 1967), l’Estate dell’amore era alle porte ed il capolavoro di Lewis Carroll forniva una quantità di splendide allusioni per indicare come attraverso l’assunzione di determinate sostanze sia possibile raggiungere il “paese delle meraviglie”. C’è da dire che il reverendo Dodgson (Carroll era un nom de plume) non ha risparmiato i riferimenti maliziosi. Cosa ci sarà nella pozione “Bevimi”? Proprio un fungo doveva offrirle il Brucaliffo?

Nell’anniversario dell’anno assurto ad emblema di una generazione che desiderava espandere i confini della percezione proviamo ad indagare il multiforme rapporto tra droghe e letteratura da un punto di vista davvero molto particolare. Vediamo quali sono le più famose, fantasiose o semplicemente bizzarre sostanze psicotrope inventate dagli scrittori del ‘900 per i loro romanzi.

Non possiamo che cominciare da un gigante come Aldous Huxley, che peraltro in gioventù conobbe di persona Lewis Carroll. Mente geniale alimentata da dosi massicce di droghe psichedeliche. Nella celeberrima distopia narrata ne Il mondo nuovo tra le masse schiacciate da un soverchiante potere dispotico viene diffusa la sostanza Soma che induce un senso di calma e tranquillità in grado di inibire ogni istinto di ribellione. Passiamo ad uno dei più prolifici inventori di droghe letterarie, Philip K. Dick. Quella più intimamente legata alla sua biografia è la Sostanza D del romanzo Un oscuro scrutare. La sua assunzione prolungata divide letteralmente in due la mente del consumatore. Nell’universo fantascientifico creato da Frank Herbert per Dune, la Spezia è una sostanza che “non ha mai lo stesso sapore”, in piccole dosi dona lunga e sana vita ma risulta fatale se le dosi aumentano. Ovviamente genera immediata assuefazione!

William Burroughs ne il Pasto Nudo inventa uno strano corrispettivo dell’eroina da cui era dipendente e lo chiama Carne Nera. Si ricava dalla carne di enormi, orribili millepiedi e chi ne fa uso ne è irrimediabilmente disgustato e deliziato allo stesso tempo. Affascinante anche se non indicato per i deboli di stomaco. Avvicinarsi a proprio rischio anche ad Arancia Meccanica di Antony Burgess. I ragazzacci capitanati da Alex sono soliti bere del Latte più, latte “corretto” con una selezione di strani, potenti additivi, “per essere pronti a praticare un po' di ultra-violenza”. Assolutamente incredibile l’effetto del Dylar che rimuove la coscienza della propria mortalità. Alt. Qui c’è da fermarsi un attimo a pensare alle conseguenze di un simile stato. Fatto? Andiamo avanti. Effetti collaterali? Tra i tanti, la perdita della capacità di distinguere le parole dalle cose. La trovate in Rumore bianco di Don De Lillo.

Verbaluce è invece l’evocativo nome di una sostanza nata dal dispiegarsi della vena surreale di George Sauders nel racconto Fuga dall’Aracnotesta (QUI il testo completo pubblicato dal New Yorker) della raccolta Dieci Dicembre. Assumerla significa cominciare a descrivere in modo spropositato tutte le sensazioni provate ed è molto interessante come l’autore riesce a rendere l’effetto sulla carta.     Esperienze forti le assicura anche la Pan Galactic Gargle Blaster (meglio non tradurre), ovvero la migliore bevanda alcolica dell’universo, come assicura la Guida galattica per gli autostoppisti di Douglas Adams. Chi l’ha provata riporta che è come se “il cervello venga spappolato da una fetta di limone legata intorno ad un grosso mattone d’oro”. Nel libro trovare la ricetta.

In un crescendo di potenza troviamo l’estremo del misterioso DMZ rarissimo allucinogeno derivato da una muffa che cresce solo su altre muffe. David Foster Wallace in Infinite Jest parla di effetti “quasi ontologici”.

Comunque finché si tratta di droghe letterarie potete consumarne irresponsabilmente e smodatamente!

Buona lettura!

[syphoning-gasoline]

Dylar

There's a boy who wrote a poem

He showed me books in the desert

Where necks were broken and buried

And bullet wounds were hugged by scabs

I would tear

My tendons

With my teeth

If I could only hear that poem again

About the peacock in the mirror

But you're asleep somewhere

In the driver's seat of a car

With your knuckles resting on your left thigh

And your other arm holding The Door

In an oasis

Of an exhale

And claustrophobia perfume

I wish I could read that poem

Where the words wash away

And all that's left

Is the silence inside the crash